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Towards a semiotics of typography
Abstract
This article outlines a social semiotic approach to analysing the ideational, interpersonal and textual meaning potentials of letter forms, drawing on Jakobson's distinctive feature analysis and Lakoff and Johnson's theory of experiential metaphor. Distinctive features are recognized and applied to the analysis of examples: weight, expansion, slope, curvature, connectivity, orientation and regularity.
... Por su parte, la madre evalúa por medio de un juicio de sanción social, negativo, inscrito, de falta de integridad ("monstruos"), sumado a una polaridad negativa ("no"); la valoración alude a la cerrazón de los responsables del golpe militar, quienes no aceptan las diferencias de pensamiento. La evaluación de la madre ("monstruos") es repetida por la hija en letras mayúsculas, recurso semiótico que cumple con una función composicional (van Leeuwen, 2006), ya que la tipografía permite enfatizar el foco del posicionamiento ideológico del narrador gráfico y de los testimonios en que basó su creación. ...
... Esta advertencia aparece destacada en letras mayúsculas, recurso semiótico que, como se indicó, cumple con una función composicional (van Leeuwen, 2006), porque coopera con la creación de significado mediante la selección de una tipografía mayor que permite enfatizar el posicionamiento ideológico del narrador gráfico, quien destaca la intuición de la niña protagonista para prevenir a su progenitor. A la vez, las letras aparecen temblorosas como muestra del miedo que Sofía siente frente a la posible captura de su padre. ...
... Esta expresión aparece destacada en letras mayúsculas, recurso semiótico que, como se explicó, cumple con una función composicional (van Leeuwen, 2006), debido a que colabora con la creación de significado mediante la selección de un mayor tamaño tipográfico que contrasta con las letras más pequeñas de la creación. De esta manera, las letras permiten enfatizar el amor grande de la madre ante la inminente separación de ambas por la salvación de la niña. ...
This qualitative study aims to explore how different Chilean graphic storytellers, participants in the Bad Memory IV Contest, evaluate the Chilean dictatorship and build evidentiality through their intersemiotically created narratives through the combination of words and images. The methodology applied is of a qualitative nature and incorporates analytical tools from the Appraisal Model and Critical Multimodal Discursive Analysis. The corpus is made up of the testimonies awarded in the contest organized by the Museum of Memory of Santiago de Chile and by Balmaceda Arte Joven. For reasons of space, only three of the awarded creations are considered in this article, specifically: Los marcados, Olla Común and La salida, which represent three emerging dimensions of the analysis: (a) the arrest of opponents of the dictatorship and the effects on their respective families; (b) resistance to the dictatorship; (c) exile as the only way to save oneself from the oppression of the military. The preliminary results show that graphic narratives are representation intersemiotic options that make visible various forms of human rights violations and different ways of fighting against these negative events. The graphic storytellers, inspired by the audiovisual testimonies of the Museum of Memory, recontextualize and resemioticize social actors, places and events, legitimizing solidarity, affective openness and condemning discrimination and fear.
... ◆ Cortes, movimentos de câmera e transições (Gerbase, 2012); ◆ Voz e música 6 (Behlau, 2001;van Leeuwen;1999); ◆ Discurso verbal e/ou oral 7 , à luz da perspectiva sistêmico-funcional White, 2005;Halliday, 2004). ...
... É função do enquadramento da câmera definir o ponto de vista por meio do qual o espectador vê na tela o espaço representado. Em termos de técnica cinematográfica, o plano é considerado o principal elemento do enquadramento, podendo ser de oito tipos: geral, de conjunto, médio, americano, meio primeiro plano, primeiro plano, primeiríssimo plano e plano detalhe, ilustrados na Figura 2: Leeuwen (2006Leeuwen ( [1996), isso constrói um continuum de diferentes tipos de relações de intimidade imaginárias entre os participantes representados e o espectador 8 : quanto mais aberto é um plano, mais distante aquele se apresenta do espectador. ...
... As escolhas quanto ao uso da câmera e de edição também determinam se o espectador vê o participante representado de maneira frontal ou oblíqua 11 , criando, assim, relações de envolvimento ou distanciamento, respectivamente van Leeuwen, 2006). Trata-se de um segundo aspecto atinente ao enquadramento que tem a ver com o "lado do ângulo". ...
Durante a pandemia da covid-19, muitos pesquisadores e cientistas se apropriaram das tecnologias disponibilizadas pela web para combater a desinformação, conquistando inclusive uma expressiva parcela do público jovem. Sob esse viés, este artigo analisa o vídeo mais curtido e comentado do perfil do tiktoker Antonio Miranda, publicado ainda durante a pandemia. O objetivo é analisar e discutir como os recursos semióticos configurados no vídeo contribuem para a construção de sentido e para a prática de popularização da ciência no ambiente digital, através do TikTok. A fundamentação teórica deste estudo é a Semiótica Social Multimodal (Burn, 2013; Hodge; Kress, 1988; Kress, 2010; van Leeuwen, 1999), que se concentra nas práticas sociais comunicativas de criação de significados de todos os tipos, sejam elas verbais, visuais e/ou sonoras. Os recursos semióticos mais recorrentes de filmagem e edição apontam para uma pujante interação de Antonio com o espectador, caracterizada pelo envolvimento, proximidade, descontração, desprovida de hierarquias de poder, como se seus mundos fossem familiares, semelhantes e coincidentes. Ademais, cabe aos gestos, à voz e à linguagem verbal o papel de transmitir credibilidade, enfatizar palavras-chave e oportunizar a fluidez e a assertividade na compreensão da explicação. Desse modo, o vídeo de Antonio se vale de escolhas semióticas que o distanciam da “torre de marfim”, onde supostamente se encontrariam os cientistas, para se aproximar da rua, das pessoas e do seu cotidiano
... Discourses pertaining to power and identity (such as gender, social class, race, generation, and institutional norms) significantly impact how individuals utilise semiotic resources. These are social rules rather than codes in the sense that they cannot be altered and are just there (Van Leeuwen 2005). In the healing practice of the Maguindanaon, the semiotic resources including music and performances were the objects utilised in the ritual. ...
... This test only functions if a specific group of mode users has been identified. For a form of meaning to be recognised as a mode, there must be a common understanding of that form of meaning formation in accordance to the identification of a community of users (Van Leeuwen 2005). ...
... In other words, a group of resources must have developed regularities before it can be considered a mode. These patterns result from material forms used historically, socially, and culturally (sounds, parts of the body, etc.) (Van Leeuwen 2005). ...
Pag-ipat (ritual against disease) is a traditional healing ritual of the Maguindanaon people in the southern Philippines. Devoid of Islamic components, it is based on numerous ideas such as possession, invisible spirits, mythological history, and the offering of sacrifice. This study explores the signs and symbols incorporated in pagipat. Through a multimodal semiotic analysis, specifically ethnographic observation, this research determines the meanings conveyed by the semiotic resources used, expounds on how semiotic resources are orchestrated to communicate meaning, and rationalises the ideology expressed in the ritual performance. Findings reveal that the resources utilised in the performance of pag-ipat communicate gratitude and love, recognition, honour, appreciation, journey, generosity, kindness, recognition of their ancestor, invitation to the neighbours and the community, healing, enlightenment, freedom from darkness, identity marker, greediness, and life. Through the manner of installing the pandala (flags), the presence of the sambulayang (set of flags), the quantity of food, the quality of the cloth, the number of days spent in the ritual, the design of the food and clothing material, the dance movement of the medium, and the kulintang music produced by the performers, the healing rite manifests social standing and artistic skill of the performers. The practise of pag-ipat tells us that regardless of Maguindanaon’s observance of Islam as official religion, some believe in the existence of ancestral spirits, mythological entities, and spirit animals which has a significant impact on their beliefs and behaviour. Thus, ritual elements increase signification and meaning-making potentials in the discourse environment because of their iconicity, indexicality, and meaning-making potentiality.
... To analyze the various modal resources at play and reveal the rhetorical aims in the text production of the asylum decisions, I have chosen to base the analysis on a multimodal social semiotic framework that could combine well with critical discourse analysis in order to advance sociolinguistic studies in writing [3]. To that end, I draw on the typographic inventory provided by van Leeuwen [69], which includes the features of weight (whether bold or regular), expansion along the horizontal axis, slope (whether the typeface slopes or is vertical), curvature (angular or curved), connectivity, orientation (to the vertical or horizontal, and therefore stretched up or out), and regularity (of individual letters and their parts). I also draw upon Kress and van Leeuwen's [40,41] useful framework for the analysis of document layouts, which pays attention to information value, salience, and framing. ...
... Hiippala [30], focusing especially on the page, offers an additional lens through which to enhance the study of document design within genre. Το consider the materiality of writing in routine tasks when drafting asylum decisions, I follow van Leeuwen's [69] "typographic profile", which takes into account the compositional meaning of page layout [28,38], while remaining critically conscious of the ubiquity of software applications across the work at such institutions [1,2,4,44]. While acknowledging the important concerns related to the infinite detail [25,1236] in multimodal inquiry, I nevertheless adopt a simple approach to analyzing the data through defining a base layer. ...
... In this section I draw on van Leeuwen's [69] social actors framework as representative of a certain asylum (social) reality, which is realized not only linguistically/verbally but also visually. In the following extracts, I demonstrate how van Leeuwen's [69] proposed categories (see Fig. 3 for their schematic form) are used in identifying the social actors and their actions in a critical analysis of the Appeals Authority decisions. ...
This paper draws on a social perspective of language use in the legal processes of asylum claims with particular attention to decision-writing and written texts within the context of the Greek Appeals Authority. Such a perspective aligns with an interdisciplinary call for emerging research framed in sociolinguistics and the law, that facilitates knowledge sharing in order to make visible the institutional veracity control inherent in asylum processes. To that end, applying van Leeuwen’s social actor network framework, I analyze nine (9) institutional written records, issued between 2011 and 2021 by focusing on the semiotics resources at play in writing. My conclusions highlight the institutional discursive power over writing and representing the applicants and their claims. Ultimately, such institutionally controlled texts are nothing but technopolitical discourse devices through which access to or rejection of protection is granted, thereby governing asylum in fundamentally stratified ways.
... Examples of pages demonstrating In terms of features relevant to consideration of the "Typical" layer, Figs. 8 and 9 differ in their use of interlinear spacing and text alignment. The double spacing and justified text of the LLD page in Fig. 8 mean that there are fewer words on the page overall, giving a reader more "room to breathe" and consider what is being said Signs of Legal and Pseudolegal Authority: A Corpus-Based… [50]. Conversely, the single spacing and left aligned text of the SCD page in Fig. 9 result in a sharper and more aggressive character [51] as well as more to read on the page, which a reader will have to work harder to fully process. ...
... Conversely, the single spacing and left aligned text of the SCD page in Fig. 9 result in a sharper and more aggressive character [51] as well as more to read on the page, which a reader will have to work harder to fully process. The less white space there is on a page, the more "cramped [and] overcrowded" it can feel [50]. While that may not be desirable in a legal text meant to inform and persuade a reader, a higher density of signs of legal authority on a page is actually beneficial for the Fig. 9 Page displaying the predominant methods of interlinear spacing, font alignment, and font family choice of the SCD corpus "parasitic" purposes of Sovereign Citizen pseudolegal documents, insomuch as they are less concerned with conveying their content than they are with their appearing authoritative. ...
Legal language exists in a peculiar state of tension. It is theoretically expected to meet the specific technical needs of a range of professions while simultaneously remaining entirely accessible to the public at large. Its success at that latter aim is at best limited, with laypeople generally more able to recognize that a given text is legal in character than they are to grasp its technical content. For such readers, the primary semiotic function of legal language is an indexical one, indicating that a text possesses a particular authoritative status even if its intended legal function remains opaque. This paper explores that authoritative indexicality of legal language through the multisemiotic analysis of two corpora: a corpus of legitimate legal documents filed in an American courthouse written by licensed attorneys and a corpus of pseudolegal documents filed in that same courthouse written by members of the Sovereign Citizen conspiracy movement. Sovereign Citizens appropriate features characteristic of legitimate legal language in their pseudolegal writings in an effort to imbue them with real legal authority. The comparison of these two corpora therefore provides a unique perspective on which features of legal writing most clearly communicate authority to non-lawyers. In addition to discussing the ways in which legal authority is manifested in these two corpora, this paper also outlines a novel method for the visualization of the spatial distribution of target features in a corpus of static multimodal texts by employing probability density estimation to generate a series of feature-based heatmaps.
... It seeks to identify the elements of Greek culture in Johannesburg through the depiction of Greekness in the Rand Daily Mail. Thus, in this article, I present a multimodal critical discourse analysis (Fairclough 2003;van Leeuwen 2006;Machin and Mayr 2012) of the Rand Daily Mail articles, columns, and advertisements mentioning Greeks or Greece that appeared from 1960 until the newspaper's end in 1985 to answer the following research question: how is Greekness discursively constructed in the Rand Daily Mail? This study is the first to present a multimodal critical discourse analysis of the Rand Daily Mail, as well as the first to approach the Greek diaspora in South Africa in this way. ...
Following the discovery of gold, Johannesburg became a major destination for immigrants from across the world. Immigrants from Greece, Cyprus and the established Greek community in Egypt were among those who flocked to Johannesburg in the early 20th century, establishing the city as the epicentre of the Greek diaspora in South Africa. The archive of the Rand Daily Mail, a Johannesburg-based newspaper that ran from 1902 until 1985, provides interesting instances of discourse by and about Greek South Africans spanning their early days to their status as one of the largest European diasporas in the country. In a first effort to locate Greek culture in Johannesburg and investigate how Greekness is discursively constructed, this study presents a multimodal critical discourse analysis of the Rand Daily Mail articles mentioning Greeks or Greece that appeared from 1960 until the newspaper’s end in 1985 – a period during which the Greek community in Johannesburg was at its peak in terms of numbers. Articles in the Rand Daily Mail consistently construct Greece, and Greek cultural identity, as inextricable from food, which indicates that food is the fulcrum of Greek culture, or ‘Greekness’, in Johannesburg.
... Furthermore, tools of composition meaning of layout in connection of ''information value, salience and linking and framing'' play an effective part in constructing meaning making in the novel. The procedures followed are explicating a multimodal analysis of representative examples from the novel showing the potential modes and their interactive communicative functions relying on a developed model of Kress andVan Leewen (1996,2006), Van Leewen (2005,2006 and Nogaard (2003Nogaard ( ,2019. ...
The output of multimodal texts has increased over the past 20 years due to advances in technology and culture, which has accelerated the demand for tackling multimodal additional semiotic modes for meaning making, such as typography, layout ,visual images, colour, etc. The theory of multimodality, as supposed by Kress and Van Leeuwen (2001–2006), Baldry and Thibaut (2006), is applied to a potential framework for the analysis of multimodal novels that use not only wording structure but also many semiotic modes in the formation of meaning. The social approach to multimodality, in brief, is based on Halliday's linguistic description and adhered to the multimodal assumption that "mutual propositions are employed and worked together in various modes" (Kress and Leeuwen,2002:3). Thus, Kress and Van Leeuwen (1996:39), in their book ‘’Reading Images’’ investigate the level for which the underlying theories of Halliday's framework to language are feasible and applicative to visual communicative management, and they create a visual system that mostly makes use of Halliday's principles and concepts. The study is concerned with the investigation of a multimodal analysis of the multiple elements of various modes of typographic devices, and layout design used in the selected novel. This selected text ‘’Stuart: A Life Backwards’’ is a multimodal novel since the writer Masters does not rely on linguistic verbal tools, he extends them to incorporate a variety of visual semiotic modes and graphic communicative elements that will intensify his understanding of storytelling and narrative development. The study has shown that an extension to the mode of wording formation is performed in the multimodal analysis by incorporating more multimodal tackling features of typographic principles and layout framing devices in creating an appropriate comprehensive meaning construction in Masters’ selected narration.
... This research investigated the semiotic elements of typography and their importance in Burger King ads showcased on YouTube channels. It utilized the semiotic typography theories introduced by Kress and Van Leeuwen (2006) and explored how the absence of facial expressions and gestures can still contribute to conveying meaning within images. ...
Melalui platform media sosial seperti You Tube pemirsa dapat memilih informasi yang paling relevan dan favorit. Mereka mengontrol aliran informasi mereka sendiri sesuai keinginan mereka. Fenomena ini mendorong pengiklan untuk mencari cara yang lebih menarik dengan menggunakan logo, tema visual merek dan tipografi sebagai bagian dari teknik strategi pemasaran melalui periklanan. Hal ini terlihat pada video pengenalan rebranding Burger King. Penelitian ini bertujuan untuk menganalisis unsur semiotika tipografi dalam video ini dan mengetahui makna dari komponen-komponen tersebut.Kata Kunci: Analisis Semiotik, Rebranding Burger King, Video Pengenalan
... Furthermore, tools of composition meaning of layout in connection of ''information value, salience and linking and framing'' play an effective part in constructing meaning making in the novel. The procedures followed are explicating a multimodal analysis of representative examples from the novel showing the potential modes and their interactive communicative functions relying on a developed model of Kress andVan Leewen (1996,2006), Van Leewen (2005,2006 and Nogaard (2003Nogaard ( ,2019. ...
The output of multimodal texts has increased over the past 20 years due to advances in technology and culture, which has accelerated the demand for tackling multimodal additional semiotic modes for meaning making, such as typography, layout ,visual images, colour, etc. The theory of multimodality, as supposed by Kress and Van Leeuwen (2001–2006), Baldry and Thibaut (2006), is applied to a potential framework for the analysis of multimodal novels that use not only wording structure but also many semiotic modes in the formation of meaning. The social approach to multimodality, in brief, is based on Halliday's linguistic description and adhered to the multimodal assumption that "mutual propositions are employed and worked together in various modes" (Kress and Leeuwen,2002:3). Thus, Kress and Van Leeuwen (1996:39), in their book ‘’Reading Images’’ investigate the level for which the underlying theories of Halliday's framework to language are feasible and applicative to visual communicative management, and they create a visual system that mostly makes use of Halliday's principles and concepts. The study is concerned with the investigation of a multimodal analysis of the multiple elements of various modes of typographic devices, and layout design used in the selected novel. This selected text ‘’Stuart: A Life Backwards’’ is a multimodal novel since the writer Masters does not rely on linguistic verbal tools, he extends them to incorporate a variety of visual semiotic modes and graphic communicative elements that will intensify his understanding of storytelling and narrative development. The study has shown that an extension to the mode of wording formation is performed in the multimodal analysis by incorporating more multimodal tackling features of typographic principles and layout framing devices in creating an appropriate comprehensive meaning construction in Masters’ selected narration.
... It is also the case with typography applied in EUAs where 93% of all logotypes use sans-serif typefaces. These fonts, according to multimodal critical discourse analysis (van Leeuwen, 2006), may connote innovation, accessibility and "moving forward" through their lighter minimalistic design. ...
The European University Initiative established 64 transnational alliances of higher education institutions. Each of these European Universities Alliances seeks to align universities to enhance academic excellence and competitiveness of the European Higher Education Area. While branding of higher education institutions has become a professionalized practice, creating a transnational alliance poses challenges beyond traditional academic visual identity. The aim is to map out visual and discursive self-representation patterns of European University Alliances on their websites, involving European values such as for example, international cooperation, student mobility, and inclusivity. Using multimodal discourse analysis, this study examines online construction of academic identities of selected European University Alliances. It analyses (1) composition, colour, and typography used in European University Alliances’ logotypes; (2) the features of photographs and graphics; and (3) the typology of names and keywords in mission statements. The findings highlight the importance of generic imagery and compositional devices evoking positive emotional responses as well as recognizable cultural symbols and colours that align with the values of academia and “Europeanness”.
... The integral (not only illustrative or ornamental) function of the image (Rowsell et al., 2013), the need for non-linear parallel processing of text and image (Luke, 2003) and finally the consideration of diagrammatic potentials of typography as an intersection of pictorial and verbal signs (Unsworth et al., 2015;van Leeuwen, 2006). ...
When we pick up a book, the first thing we see is the cover. We might read the title and the name of the author to identify the book. When we decide to read the book, we usually flip through the first pages until we reach the beginning of the narrative. Gérard Genette has described some of the elements we usually find within this transactional zone through his concept of paratexts. For written literature, Genette sees the function of these textual elements in guiding reception. Picture book publications have recently shown a development with regard to increasing narrative transgression. In particular, the images on the cover, endpapers, and within the title pages are often an integral part of the narrative, while the printed text (in the following referred to as ‘print’) continues to follow the conventions described by Genette. This leads to the question whether child readers adapt their reception behavior when they encounter such picture book peripheries. This paper discusses eye movement data recorded during picture book reception by 48 elementary school students. The data show a significant tendency for participants to pay only very selective attention to the peripheral areas of the picture book, even when the narrative extends into the periphery. The concept of typographic dispositives is proposed as a theoretical explanation for these findings.
... A tipografia, na abordagem da Semiótica Social, não é apenas um meio para materializar estruturas linguísticas por meio da escrita, mas sim um recurso capaz de contribuir para a produção e a organização de sentidos nos textos multimodais ( VAN LEEUWEN, 2006. No uso da modalidade escrita dos discursos do ex-presidente Lula e do presidente Jair Bolsonaro (exemplos 3 e 4, respectivamente) e das falas da deputada Flordelis e da reflexão do ex-presidente Lula sobre seus 75 anos de idade (exemplos 1 e 2, respectivamente), há diferenças bastante nítidas em relação ao uso de recursos tipográficos, conforme está ilustrado nas figuras a seguir. ...
Este trabalho objetiva analisar como recursos, práticas e princípios típicos da estética barroca, principalmente do século XVII, influenciam a constituição de sentidos nos discursos de polarização na sociedade brasileira durante os últimos anos, especialmente quando o tema está relacionado ao debate político. A partir de uma pesquisa crítica de caráter qualitativo (DENZIN; LINCOLN, 2006[2003]) e com base nos pressupostos da Análise de Discurso Crítica (ADC) (FAIRCLOUGH, 2003, 2008[1992]; VAN DIJK, 2012; VIEIRA, 2019; ABRIL, 2013; THOMPSON, 2011[1990]) e da Semiótica Social (VAN LEEUWEN, 2005, 2006, 2008; KRESS; VAN LEEUWEN, 2006), investigarei como textos e gêneros textuais que circulam tipicamente pelas TDICs ajudam a legitimar argumentos de diversos grupos e enaltecer suas identidades (FAIRCLOUGH, 2003) como mais legítimas, racionais, democráticas, morais e coerentes que as identidades dos grupos com os quais polarizam.
... Study 1 forms the foundational step, focusing on specifying the letterform features of Latin dyslexiafriendly typefaces using a modified version of Leeuwen's framework (Leeuwen 2006) where the study integrates two additional parameters: one pertaining to legibility and the other to the exploration of Arabic as a means of mapping the findings. It also explores how these features translate to the Arabic script's anatomy. ...
Dyslexia-friendly typefaces for the Latin script have been proliferating during the last decade. The typefaces are designed to tackle the challenges faced in a dyslexic reading experience by manipulating its letters' form and typographic attributes; several studies reported a positive effect on the reading experience. To this date, no working dyslexia-friendly Arabic typefaces are available for the public. This study combines a user-centred design (UCD) approach with Maag’s Pillars of Accessible Type (MPAT) as a theoretical framework to design and evaluate an Arabic-accessible typeface for dyslexic readers.
... Building on these works, this paper specifically examines the "Word of the Day" section in the "Big Five" online learner's dictionaries, evaluating its typographical features, such as word sizes, colors, and layout, to understand how they contribute to user experience. Multimodal analysis provides a framework for understanding how different semiotic resources, including typography, interact to convey meaning in online dictionaries [8,9,10]. "Multimodal discourse" refers to the integration of multiple modes of communication-such as language, image, and space-within a single discourse [11,12]. This paper draws on Systemic Functional Linguistics [13,14] and the multimodal theories of Kress and van Leeuwen [15,16], which assert that images, like language, can represent the world, establish relationships, and structure information. ...
The emergence of online electronic dictionaries has brought convenience to English learners. The "Big Five" in English learning dictionaries have kept up with the pace of the times, and have established their own websites which are now working as online dictionaries, so that users can use any device which is connected to the Internet to access consultations for words. On the basis of previous studies, this paper aims to focus the research on "Word of the Day", a section unique to nowadays online dictionaries, and conducts an analysis of this section in the "Big Five" learner's dictionaries from the perspective of multimodality and typographical features.
... However, in today's digital and multimodal environment typography no longer serves as a simple conduit for a verbal narrative hoping to remain invisible. Typography serves as a semiotic resource capable of offering meanings potential by itself, in addition to the content included in the written narrative (van Leeuwen, 2006). Typographical elements, including weight, flourishes, colour, size, and formality all carry socially constructed meaning potential in addition to making visible the language used in picturebook narratives. ...
... Neste artigo procuramos dar conta do processo de desenvolvimento deste projeto de identidade visual, num exercício de reflexão sobre a ação (Schön, 1984), incluindo o registo de significados semióticos dos elementos visuais mobilizados para a sua concretização (Kress & Van Leeuwen, 2021;Van Leeuwen, 2005;Van Leeuwen, 2006). Para além destas considerações, procuramos medir o impacto da implementação, perceção e performance institucional deste processo de construção de marca (Balmer & Soenen, 1999;Melewar & Saunders, 1998;Olins, 2008Olins, , 2014, através da recolha de testemunhos do diretor-técnico da instituição e do designer responsável pelo projeto de identidade. ...
Este artigo apresenta um estudo de caso sobre o processo de desenvolvimento da identidade visual para a OASIS – Organização de Apoio e Solidariedade para a Integração Social – instituição com mais de trinta anos de existência, localizada em Leiria (Portugal). Com o intuito de compreender as abordagens, processos e significados inerentes na construção da marca OASIS, procuramos ainda perceber como a implementação de uma identidade visual pode contribuir para a criação de valor em organizações sociais desta natureza, marcadas por um forte sentido de envolvimento comunitário. Desenvolvida em 2023, a identidade visual foi criada com o intuito de atualizar a linguagem comunicacional da instituição, refletindo o seu posicionamento, missão e valores. Para além de procurar incidir o olhar sobre o processo, os significados e os recursos utilizados na conceção, este trabalho visa ainda analisar o impacto percebido na implementação da marca. A conciliação de diferentes estratégias qualitativas, bem como o recurso a pressupostos da Semiótica Social e do Discurso Multimodal da Marca, permitem o foco nas possibilidades de intervenção do design de comunicação em organizações sociais e da perceção da sua prática como um importante elemento promotor de mudança social.
... Another study related to the perceptions of particular sounds and how they are interpreted is Elsen (2017), which introduces the field of sound symbolism, an area highly relevant to parts of the present article, and presents experimental results. As far as fonts and lettering are concerned, Hyndman (2016) is a good general introduction, whereas van Leeuwen (2005Leeuwen ( , 2006 deals specifically with the significance of fonts from the semiotic point of view. Bar andNeta (2006, 2007), Bertamini et al. (2016), Palumbo et al. (2015) and Coluzzi (2021), on the other hand, present convincing evidence of the significance of shapes, including letters, from a neuropsychological point of view. ...
... Dijital çağın yeni bir meydan okumasıyla karşı karşıya kalan tipografi, grafik tasarımda farklı bir role sahiptir ve artık "tipografi" 'soyut bir sanat' olarak değil; kendi başına bir iletişim aracı olarak görülmektedir (van Leeuwen, 2006). ...
Bu çalışma, tipografinin yazı dili üzerindeki işlevselliğinden sanatsal olarak etkililiğine kadar bir dizi tasarım unsurunu ve araştırma konusunu kapsamaktadır. Araştırmada; tipografinin çağdaş roldeki, dijitalleşme ve çoklu iletişim platformlarına entegrasyonu ele alınmıştır. Tipografinin çoklu entegrasyonuyla grafik tasarım, yirmi birinci yüzyıldaki önemli değişikliklerinin ve dönüşümlerinin merkezine deneysel tipografiyi yerleştirmiştir. Görsel iletişim normları, biçimsel ve yapısal olarak önemli değişimler geçirmiştir. Dijitalleşme ile tipografinin gündemi genişleyerek iletişim tasarımının ayrılmaz bir parçası haline gelmiştir. Bu kapsamda; tipografinin işlevsel analizi, marka kimliğindeki rolü, reklamcılıktaki etkisi, erişilebilirlik ve deneysel tipografi gibi çeşitli konulara odaklanmaktadır. Çalışmada; literatür taraması ve içerik-doküman analizi veri toplama tekniği ile tipografinin iletişim tasarımında ve görsel sanatlarda okunabilirlik, estetik ve marka kimliği oluşturma gibi işlevsel yönleri incelenerek tipografi konusundaki yeni yaklaşımlar ele alınmıştır. Bu bağlamda; tipografi, duyarlı tipografi ve duyarlı tipografiyi etkileyen tipografinin işlevsel analizi, dijital okuma ve tipografi, tipografi ve tüketici tepkisi, okunaklılık ve okunabilirlik, marka kimliğinde tipografi, çok modlu ortamlarda tipografi, erişilebilirlikte tipografi ve deneysel tipografi ve sanatsal ifade gibi konuları içeren birçok alt unsura ait referans noktaları araştırılmıştır. Araştırma, konu ilgili yapılan literatür taraması ile elde edilen verilerle sınırlıdır.
... The analysis findings are synthesised with the visual implications of the Arabic script to map the letterform features and ultimately design an Arabic typeface specialised for readers with dyslexia. The Leeuwen framework of typographic distinctive features [75] is used for this visual analysis; the framework consists of eight parameters to describe the visual characteristics of typography: weight, expansion, slope, curvature, connectivity, orientation, regularity, and non-distinctive features. While proposed through the lens of a multimodal theorist, the framework proves effective in describing and examining letterform characteristics within typefaces [76]. ...
Dyslexia-friendly typefaces for the Latin script have been proliferating during the past decade. The typefaces are designed to tackle the challenges faced in a dyslexic reading experience by manipulating their letter forms and typographic attributes; several studies reported a positive effect on the reading experience. To this date, no working dyslexia-friendly Arabic typefaces are available for the public. The present study is part of a larger practice-based research, where a novel dyslexia-friendly Arabic typeface is designed using a user-centred design approach. The current visual analysis marks the developmental phase, identifying the letterform features of dyslexia-friendly Latin typefaces that can be mapped to the Arabic script. This article explores the typographic features of dyslexia-friendly Latin typefaces by conducting a qualitative visual analysis; a proposed modified version of Leeuwen’s Typographic Distinctive Features Framework is employed. The results are discussed considering the Arabic script’s visual implications in a dyslexic reading experience. The findings of this study are used to create a list of design considerations for a dyslexia-friendly Arabic typeface.
... A tipografia, na abordagem da Semiótica Social, não é apenas um meio para materializar estruturas linguísticas por meio da escrita, mas sim um recurso capaz de contribuir para a produção e a organização de sentidos nos textos multimodais ( VAN LEEUWEN, 2006. No uso da modalidade escrita dos discursos do ex-presidente Lula e do presidente Jair Bolsonaro (exemplos 3 e 4, respectivamente) e das falas da deputada Flordelis e da reflexão do ex-presidente Lula sobre seus 75 anos de idade (exemplos 1 e 2, respectivamente), há diferenças bastante nítidas em relação ao uso de recursos tipográficos, conforme está ilustrado nas figuras a seguir. ...
Este trabalho objetiva analisar como recursos, práticas e princípios típicos da estética barroca, principalmente do século XVII, influenciam a constituição de sentidos nos discursos de polarização na sociedade brasileira durante os últimos anos, especialmente quando o tema está relacionado ao debate político. A partir de uma pesquisa crítica de caráter qualitativo (DENZIN; LINCOLN, 2006[2003]) e com base nos pressupostos da Análise de Discurso Crítica (ADC) (FAIRCLOUGH, 2003, 2008[1992]; VAN DIJK, 2012; VIEIRA, 2019; ABRIL, 2013; THOMPSON, 2011[1990]) e da Semiótica Social (VAN LEEUWEN, 2005, 2006, 2008; KRESS; VAN LEEUWEN, 2006), investigarei como textos e gêneros textuais que circulam tipicamente pelas TDICs ajudam a legitimar argumentos de diversos grupos e enaltecer suas identidades (FAIRCLOUGH, 2003) como mais legítimas, racionais, democráticas, morais e coerentes que as identidades dos grupos com os quais polarizam.
... Wodak (2001) agrees that CDA is a multidisciplinary approach towards discourse, developed from theories of different backgrounds and oriented towards different data and methodologies. In van Leeuwen's (2006) view, CDA is grounded on the assumption that text and talk play an important role in issues of inequality, injustice and oppression in various societies. He further establishes that CDA uses various methods of discourse analysis (DA) ...
... In the specifics of typographical features, according to a relatively recent interest of such linguists as Stöckl (2005) and Van Leeuwen (2005;2006), it has been realized that these can be seen no longer just as a dress of the written words, but as a semiotic and linguistic body, as a modality of communication in its own right. Typographic features can convey abstract ideas of sociocultural identities, and they can be associated in the commercial sphere with the name of the product or company they are grapho-visually representing. ...
This transdisciplinary study aims to investigate pragmatic and semantic aspects related to a still underexplored area of human communication; namely that involving paraverbal features of written language. In particular, it examines the construction and diffusion of meaning ascribed to traditional and pseudo-traditional typographic mimicry used in commercial signs present in two semiotic landscapes in central areas of Rome and Athens, the capital cities of Italy and Greece. According to previous studies, as well as prosodic features in speech, typography is essential paraverbal and multimodal quality for written communication that can be seen as a code in its own right. Specifically in store naming, typographic mimicry can convey implicit social, political and cultural meaning. Through a methodological approach set on critical discourse analysis, the present study investigates how typographic features present in store names can convey positive ideas linked to the authenticity of the product or business in which they are used. A qualitative diachronic, sociological and linguistic analysis is conducted of both traditional Roman and pseudo-Greek fonts and the two specific semiotic landscapes of Testaccio and Plaka districts in which target typefaces are used for commercial purposes. Finally, interviews are conducted with owners and authors of the signs examined. The findings show that traditional Latin and pseudo-Greek fonts used in commercial signs can implicitly activate presuppositions related to real or commodified authenticity only if present in suitable contexts where the recipients share the same common ground with the issuers. Presupporre l’autenticità attraverso i tratti tipografici delle insegne commerciali Questo studio transdisciplinare si propone di indagare gli aspetti pragmatici e semantici relativi alle caratteristiche paraverbali del linguaggio scritto. In particolare, esamina la costruzione e la diffusione di significato attribuito all’imitazione tipografica tradizionale e pseudo-tradizionale utilizzata nelle insegne commerciali presenti in due paesaggi semiotici nelle zone centrali di Roma e Atene, le capitali di Italia e Grecia. Secondo studi precedenti, oltre alle caratteristiche prosodiche del parlato, la tipografia è una qualità paraverbale e multimodale essenziale per la comunicazione scritta che può essere vista come un codice a sé stante. In particolare, nella denominazione di attività commerciali, la mimica tipografica può veicolare significati sociali, politici e culturali impliciti. Attraverso un approccio metodologico basato sull’analisi critica del discorso, il presente studio indaga su come le caratteristiche tipografiche presenti nei nomi dei negozi possano veicolare idee positive legate all’autenticità del prodotto o dell’azienda in cui vengono utilizzate. Viene condotta un’analisi qualitativa diacronica, sociologica e linguistica dei caratteri tipografici tradizionali romani e pseudo-greci e dei due specifici paesaggi semiotici dei quartieri di Testaccio e Plaka in cui i caratteri tipografici di riferimento sono utilizzati per scopi commerciali. Sono state inoltre effettuate interviste con i proprietari e gli autori dei segni grafici esaminati. I risultati mostrano che i caratteri tradizionali latini e pseudo-greci utilizzati nelle insegne commerciali possono attivare implicitamente presupposti legati all’autenticità reale o mercificata solo se presenti in contesti adeguati in cui i destinatari condividono lo stesso terreno comune con gli autori.
... The evaluation of typeface involves a unique system of typesetting (e.g., spacing, kerning, leading, hanging, tracking, etc.) and aesthetic appraisal (e.g., serif, slab, orientation, stem, weight, obliqueness) that are not seen in other geometric features-assuming, that is, typeface can be regarded as a form of geometric feature (Keage et al., 2014;Kuvykaite et al., 2009). Some typeface families (i.e., a group of typefaces sharing the same design language; see Zeng et al., 2019) have also been found to prime semantic meanings and personalities (Celhay et al., 2015;Johannessen et al., 2021;van Leeuwen, 2006). Nevertheless, despite the diverse psychological effects of typeface, its taste profile is most notably determined by the degree of font curvilinearity among the other typeface attributes that have been investigated to date (Velasco, Hyndman, & Spence, 2018). ...
The effects of color and typeface on people’s taste expectations have been well documented in the literature on crossmodal correspondences. However, research on the interaction between different visual features when they are collectively associated with specific taste qualities is scarce. Here, an online study is presented that examines the combined effect of color and typeface by simultaneously manipulating the color scheme and font curvilinearity of text stimuli. The findings confirm the main effects of color hue and typeface curvilinearity in terms of modulating the strength of association with the four basic taste qualities (sweet, sour, salty, and bitter). The results revealed that the congruent pairings of color hue and typeface curvilinearity induced stronger taste associations. In particular, the combinations of congruent visual text properties further modified the strength of taste association with sweet (p < .005), sour (p < .0001), bitter (p < .001), and with a borderline-significant effect in the case of salty (p = .054). There was no effect of typeface curvilinearity on sour ratings when the text stimuli were presented in colors that had previously been documented to associate with sourness. Overall, the effects of color and typeface on taste expectations induced by text stimuli follow the documented patterns of hue–taste and curvilinearity–taste correspondences. Although both color and typeface exerted a significant effect on taste expectations, the evidence presented here suggests that the color scheme tends to dominate over typeface curvilinearity when determining the taste quality that people associate with a given text stimulus.
... Existen cuatro sistemas semióticos o modalidades: el sistema verbal, el sistema gráfico, el sistema matemático y el sistema tipográfico (van Leeuwen, 2006;O'Halloran, 2008;Bednarek & Martin, 2010). ...
In the science field, the use of Problem-Based Learning (PBL) methodology is becoming increasingly common, and the learning outcome is often captured in a written report. In our study, we consider the problem-solving report a formative-evaluative genre that has a dual purpose: to be a learning activity and to be an evaluation product. From the genre theory (Swales, 1990, 2004), we describe the rhetorical organization of this genre by means of a corpus of written texts in the area of biology and, subsequently, we analyze the first move in depth, considering, on the one hand, the levels of reading comprehension (Cassany, 2006; Gordillo & Flórez, 2009; Guevara, Cárdenas & Reyes, 2015) and, on the other, the taxonomies of learning (Bloom et al. (1956) reformulated by Anderson & Krathwohl, 2001; Biggs & Collis, 1982, 1989). The results indicate that there are four rhetorical moves that possess different communicative purposes. In the case of the first move, problematization, there are three types of questions that account for the level of abstraction of acquired knowledge and the problematization that the students carry out based on the case presented in the PBL. In this move, transactional interrogative statements predominate (Escandell, 2013), using simple discursive resources such as definition, description, classification, or enumeration. Since the genre has not been described before, it is necessary to deconstruct it and model it in order to understand its scope in disciplinary training in the field of science.
During a 10-week classroom-based study in a school in western Canada, 17 Kindergarten children had multiple opportunities to learn about how elements of visual art, design and layout in picturebook artwork are fundamental to meaning-making when transacting with this format of literature. Student application of learning about the concepts under study was explored when the children viewed and discussed wordless or almost wordless picturebooks, and when they created their own artwork or visual compositions. Findings from the content analysis of the Kindergarten children’s visual narrative compositions and individual interviews revealed their understanding of how colour, point of view, framing, line to show action, line to show emotion and implied line can be used purposefully by sign-makers to represent particular meanings. Furthermore, application of Halliday’s metafunctions conceptual framework to analyze three focus students’ visual narrative compositions revealed how their semiotic work concomitantly realized the ideational, interpersonal and textual metafunctions. Consistent with the tenets of social semiotics and sociocultural theory, the descriptions of the instructional procedures and student activities convey how the practices in the classroom shaped the students’ visual narrative compositions. The findings enrich understanding of how young children’s knowledge of various semiotic resources can enhance their understanding and interpretations of the kinds of communicative functions realized or fulfilled by various meaning-making resources, and can inform the design of their visual compositions.
This volume extends research on ideology in the news into the historical sphere, spanning discourse from the mid-seventeenth to the early twentieth century. The chapters investigate the ideological representation and assessment of political events across three continents, such as uprisings, independence, and genocide, but also of pervasive socio-cultural aspects like gender and language. For this, they rely on a wide range of sources, from handwritten news letters via general daily papers to specialized magazines, and from classical editorial content to letters published in newspapers. The geographical and linguistic focus of the texts investigated comprises British, American, Italian, German, and Polish discourse. The articles use both qualitative and quantitative corpus-based methodology, such as keyword or collocational analysis. The book is of interest for scholars in (historical) linguistics, history, and journalism studies.
This study aims to explore the typographic strategies employed by Aravind Adiga in his novel The White Tiger, focusing on how visual elements contribute to the narrative’s thematic depth and infer deeper meaning. Through detailed discourse analysis, the research investigates the use of typography, including bold text, italics, capitalization, superscript, and other extra-linguistic elements as tools for emphasizing key moments, conveying character emotions, and highlighting deeply entrenched social, political and bureaucratic injustices. The method involves a close reading of the novel and a semiotic analysis of the typographic variations to interpret their symbolic significance. The results reveal that Adiga’s typographic choices are not merely aesthetic but serve as a powerful narrative device that enhances the reader’s engagement and understanding of the novel’s underlying messages, fostering a profound understanding of the protagonist's journey from darkness to light. Conclusively, Adiga’s innovative use of typography in The White Tiger adds a layer of artistic insight that enriches the novel’s exploration of corruption, social inequality, and the complexities of human ambition. The analysis underscores typography as a vehicle for deeper literary expression, offering new insights into Adiga's narrative technique where language and style converge to convey powerful, emotive meanings.
Since its publication in 2000, Mark Z. Danielewski’s (2000a) House of Leaves has attracted significant attention from critics, fans, and academics to the point that the novel is now canonized in contemporary literature although it retains its cult status. Within the bounds of the print book medium, House of Leaves has reconceptualized narrative possibilities for literary texts at the turn of the century, and has inspired authors and artists to explore uncharted avenues in literary writing ever since. Brimming with elaborate typography and inventive page layout, Danielewski’s magnum opus novel interrogated established practices of book design and typesetting and refocused them to narrative ends. In Multimodal Poetics in Contemporary Fiction, I approach House of Leaves as the literary text that inaugurated the genre of multimodal fiction, and view Danielewski’s experimentation as an indicator of fresh dynamics for print-based writing in the digital age which paved the way for more experiments with multimodality to emerge in literary narratives.
The term "perspective" in the context of media practices generally implies a focus on visual perspective and "point of view" However, an investigation into listener perspective reveals a wealth of considerations for and insights into the design and perception of a variety of media experiences. This chapter will provide an introduction into such topics with the focus on games and virtual reality, as these both require an understanding of the implications of medium-specific affordances for embodiment and listening perspective. Focusing on emerging technologies not only provides a glimpse of what is to come, but also a useful lens with which to re-evaluate the status quo concerning audio use in other media.
This paper deals with typography in advertising messages or advertising discourse, within which it can be considered a semiotic resource with its own meaning potential. In the first part of the paper, the characteristics, possibilities and limitations of message transmission in this type of advertising message are considered, then the specifics of the relationship between the visual and verbal part of the message, and the specifics of typography within such an advertising format. The second part of the work is dedicated to the theory and definition of typography, its intrinsic and extrinsic properties, then its functions from an advertising perspective, and the communication and meaning potential it possesses regardless of the text to which it is applied. Typography certainly affects the interpretation and reception of texts, and it can also have its own meaning independent of the semantics of the text, which is proven by reference to a number of relevant works. It is the resource that transmits information supraliminally, since we usually do not perceive fonts on a conscious level, but in the way we perceive background music in movies. Although typography is only one of several components of advertising messages in print, it is a segment that unites the textual and visual part of the message. Considering the advertising practice and the physical experience of the space, intrinsic and extrinsic typographic properties, it is possible to attribute to it certain meanings arising from them.
We investigated whether a written court ruling printed on paper, as published on rechtspraak.nl and written and rewritten in understandable language, is better understood by non-litigant readers with no legal education if visual features (such as typography, images and color blocks) are added to that ruling.
First an existing court ruling (V1) was rewritten in understandable language. Then two visual versions of this rewritten ruling were developed. In one version (V2a) the structure of the text was made visual using typography. In the other version (V2b), images, icons and color (blocks) were added to V2a. These versions were tested for understandability and compared with the original version (V1) by means of a questionnaire survey amongst 219 readers with varying levels of education who answered questions regarding the text comprehension of one of the three versions.
Analysis of the results shows that the visual version V2a is the most understandable for the non-highly educated group: it was this version that received significantly more correct answers than the original (V1). Regarding the highly educated group, there were no significant differences in the number of correct answers among the three versions: each version was understood (equally) well.
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The 26 letters of the English alphabet are undoubtedly, within the scope of the most recognizable forms globally even some of the non-English speaking communities. The English alphabet has been subjected to varied elements from speaking to writing. The words used in most local parlances are formulated and written by means of the letters of the English alphabet. However, this English alphabet from the design perspective, as this paper intends to unravel, there is so much to be extracted from the letters of the English alphabet, which has not been addressed. Digital applications were used to harness the abstracted design concepts that emanated from this study. Finally, the recurrent issues of concept generation will be given a significant boost as intrinsic findings from this study show that the methodical exploitation of the letters of the English alphabet can be used to generate infinite thematic genre of abstracted art or flourishes worthy of a variety of elucidations.
У статті розглянуто використання графічних засобів у експериментальному романі Марка Даніелевського «Будинок Листя». Актуальність проблеми обумовлена недостатнім розкриттям ролі графічної стилістики у сприйнятті експериментального тексту та особливостей використання графічних засобів. Створення логічної послідовності використання графічних елементів та вивчення їх впливу на текст сприяє ефективнішому використанню цих засобів у експериментальних романах. Мета дослідження передбачала аналіз використання графічних засобів у експериментальному романі. У ході дослідження було визначено п’ять основних методів порушення використання графічних засобів: перебільшення, зміна, повторення, видалення та комбінування. Ця класифікація дозволяє систематично ідентифікувати графічні засоби. Проаналізовано як читачі сприймають експериментальний текст у залежності від його форми. Деякі захоплюються нестандартним підходом автора та відчувають емоційну насиченість від інтерактивних графічних засобів. Однак для інших постійні переривання тексту можуть викликати відволікання або потребу в значних зусиллях для читання експериментального роману. Незважаючи на це, такий підхід надає наративу багатошаровість і глибину, змінюючи сприйняття часу та простору у експериментальному романі. Проведений аналіз графічних засобів дає підстави для таких висновків, що більшість текстів експериментальних романів можливо проаналізувати за допомогою методів літературознавчого аналізу та візуальної критики. Ці структурні засоби можуть бути систематизовані та класифіковані. Також ми дійшли висновку, що графічні засоби допомогли Марку Даніелевському створити глибоку, інколи навіть жахливу атмосферу, що наділяє персонажів унікальними рисами та сприяє кращому розумінню структури сюжету. Ми інтерпретуємо графічні засоби як набір ресурсів, які використовуються у нових та різноманітних процесах творення графічної стилістики.
Research into the contribution of multimodality to language learning is gaining momentum. While most studies pave the way for new understandings of language teaching and learning, there is an increasing demand for comprehensive assessment practices, particularly within higher education contexts. A few studies have emphasized the importance of reflecting on and establishing criteria for the assessment of multimodal literacy. This is necessary to understand students’ contributions in detail and to provide them with effective support in developing their multimodal skills. This study discusses the assessment of multimodal writing in English for Specific Purposes (ESP) contexts. It presents the design of an analytical tool for assessing multimodal texts and provided an example of its application. This tool covers assessment categories such as language use, content expression, interpersonal meaning, multimodality, and creativity and originality. As an example, we focus on the multimodal writing of a video game narrative, a genre that requires the integration of multiple modes of communication to convey meaning more effectively. Finally, this study offers pedagogical insights into the assessment of multimodal literacy in ESP.
This chapter looks into an online genre resulting from recent scholarly and scientific digital practices: popular science online videos. These are short videos of approximately 10 minutes in which a varied and validated scientific content is disseminated to the general public. We adopt a multimodal discourse analysis approach and use specialised annotation software for the analysis of recontextualisation strategies (Valeiras-Jurado et al., Ibérica: Revista de la Asociación Europea de Lenguas para Fines Específicos, 35, 93–118, 2018; Luzón, Ibérica. Journal of the European Association of Languages for Specific Purposes, 37, 167–192, 2019; Rowley-Jolivet & Carter-Thomas, Journal of English for Academic Purposes, 48, 1–14, 2020) and modes used to enact them in the four examples selected: (1) Why Megalodon (Definitely) Went Extinct, (2) Why the Muon g-2 Results Are so Exciting!, (3) The Physics Girl: What Is the Magic Russian Diamond? and (4) Why Are We the Only Humans Left?—YouTube. Our findings suggest that the composition and semiotic affordances of the multimodal ensembles employed play a decisive role in a successful recontextualisation of scientific content.
Typography has always played a key role in the creation of visual identity for socio-political or commercial purposes. Today there is a growing awareness that typographic features convey social meanings in brand logos of a spe- ci c territory and community. This study examines how the idea of authenticity related to the history of the city of Rome can be visually transmitted by the presence of traditional types in its city brand. Adopting an historical, metapragmatic and empirical approach, the findings of an interview with the typographic designer of the city brand suggest that traditional typefaces can emblematize and iconize an idea of solemnity and prestige linked to the city that played a fundamental role in the typographic evolution of the Latin alphabet.
The present paper suggests a linguistic approach to typography which is understood as a variable communicative resource. Typography acts as one of the semiotic tools for meaning making. A person actively chooses semiotic resources that are adequate in the socio-cultural situation, interprets the meanings and coordinates their communicative competence with socio-cultural norms and traditions of communication. The methodological framework of the study is based on modern explanatory approaches to the pragmatics of meaning that have been developed in media linguistics, discourse linguistics, and is in line with a new sociolinguistic strand typographic linguistics. The typographic variations are involved in the shaping of a semiotic, typographic landscape and generate typographic meanings as a special kind of pragmatic meaning. The typographic meaning is of an indexical nature and can be studied within the framework of social indexicality in line with current approaches in sociolinguistics and metapragmatics to communicative variation. From this point of view, the issue is related to media competence and media literacy as a person's ability to recognize and consciously apply various communicative forms and channels to express meanings in an appropriate situation. The analysis is exemplified by means of modern Russian advertising messages, street signs, announcements. Typographic meaning is created and recognized in the communicative interaction of social actors.
The present paper suggests a linguistic approach to typography which is understood as a variable communicative resource. Typography acts as one of the semiotic tools for meaning making. A person actively chooses semiotic resources that are adequate in the socio-cultural situation, interprets the meanings and coordinates their communicative competence with socio-cultural norms and traditions of communication. The methodological framework of the study is based on modern explanatory approaches to the pragmatics of meaning that have been developed in media linguistics, discourse linguistics, and is in line with a new sociolinguistic strand typographic linguistics. The typographic variations are involved in the shaping of a semiotic, typographic landscape and generate typographic meanings as a special kind of pragmatic meaning. The typographic meaning is of an indexical nature and can be studied within the framework of social indexicality in line with current approaches in sociolinguistics and metapragmatics to communicative variation. From this point of view, the issue is related to media competence and media literacy as a person's ability to recognize and consciously apply various communicative forms and channels to express meanings in an appropriate situation. The analysis is exemplified by means of modern Russian advertising messages, street signs, announcements. Typographic meaning is created and recognized in the communicative interaction of social actors.
This article explores the nature of multimodal meaning-making in writing by analyzing the script-switching used in Japanese pop culture. Japanese intermixes multiple script systems in one text. Although official and public documents follow standard orthographic conventions, creative works in pop culture texts freely and regularly break these norms by switching script types to create new meanings. However, while many previous works recognize the semiotic effects of script-switching, to this day, there is no systematic account for how and why such meaning-making operates. Notably, script-switching triggers meanings independent of linguistic meaning. Yet, scripts are a visual manifestation of language, so one cannot say they are independent of language. Accordingly, this work attempts to resolve this dilemma by exploring a social semiotic multimodal approach (see Van Leeuwen ‘Typographic meaning’, 2005, and ‘Towards a semiotics of typography’, 2006, and Stöckl ‘Typography: Body and dress of a text’, 2005), which claims the semiotic independence of typography and its interdependency with language. By recognizing the basic unit of the writing system as graphemes, the author argues that the Japanese script systems are categorized into four types of graphemes depending on the linguistic unit they relate to and she demonstrates how the visual unit of the grapheme and the linguistic unit interact in meaning-making. In this analysis, script-switching occurs when grapheme types are intentionally changed to foreground a visual meaning associated with each script system. This article shows that such a meaning reflects the historical development and discursive social practices of writing with multiple script systems throughout the history of the Japanese writing system.
Genre is a sociolinguistic approach that is used for some particular communicative purpose. It tends to be related more with the organisation of culture and social aims around language (Bhatia, 1993; Swales, 1990). Genre is also tied more firmly to concern of ideology and power. The current study links these two approaches in the analysis of the articles. The texts of newspapers work to build and shape the ideology of people. This study aims to analyse the structures of moves organisation of some selected articles written about the Russian- Ukrainian Crisis based on Bhatia (1993) model. The researcher chooses the Moscow Times from Russia and the Kyiv Post from Ukraine since these selected newspapers are written in English. All the articles were written before the official declaration of war to show how the language of newspapers manipulates messages to deceive the public. The findings showed that all the articles follow Bhatia’s model using the four moves during writing and giving more emphases to the headlines. Keywords: genre, sociolinguistics, ideology, power, the Russia-Ukrainian crisis.
The facial skincare market has traditionally been dominated by products for women (often discursively highlighted by the adjunct for men on the packaging of products targeted at male consumers). This is due to the long-standing cultural ideology that women’s value lies in their physical attractiveness, rather than their intellectual worth (Johnson, 2008). While men have arguably not been subject to the same kinds of judgements of physical appearance that women have, the growth of male grooming markets across the globe suggests that the pressure for men to engage in “aesthetic labour” (Banet-Weiser, 2017) is increasing. The United Kingdom (UK) is one of seven global “boom markets” in men’s toiletries (Allgaier, 2019) and, according to Statista, the men’s facial skincare market in the UK was worth £69.8 million in 2020. The size of the global men’s facial skincare market, and the UK’s prominence within it, necessitates closer critical attention to how male consumers are persuaded to buy into the health claims of these products.
This paper discusses the use of lettering and typeface in the linguistic landscape in Italy during the Fascist period (1922–1943), focusing on inscriptions on public buildings and the lettering used in propaganda posters and other materials. After a general introduction, some definitions, and an overview of Italian Fascism, the paper introduces the methodology employed, which consists first of an analysis of the lettering used in Fascist public writings and their link to ancient Rome on the one hand and modernity on the other, and second of a simple test carried out among a sample of students at Universiti Malaya (Malaysia) to investigate their perception of ‘Fascist’ fonts. There follows an analysis and discussion of the data, which leads to the conclusion that some of the ideas behind this right-wing movement seem to be portrayed by the specific lettering and fonts used. Finally, these conclusions are compared to those arrived at in previous research on fonts
This article presents a brief review of several approaches of 'grammar', as the basis for a discussion of culturally produced regularities in the uses of colour; that is, the possibility of extending the use of 'grammar' to colour as a communicational resource. Colour is discussed as a semiotic resource - a mode, which, like other modes, is multifunctional in its uses in the culturally located making of signs. The authors make some use of the Jakobson/Halle theory of 'distinctive features', highlighting as signifier- resources those of differentiation, saturation, purity, modulation, value and hue. These are treated as features of a grammar of colour rather than as features of colour itself. The article demonstrates its theoretical points through the analysis of several examples and links notions of 'colour schemes' and 'colour harmony' into the social and cultural concept of grammar in the more traditional sense.